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Georgia State University

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Art and Design eses Ernest G. Welch School of Art and Design

1-12-2006

What is the Nature of the Professional Practice ofArtist-Teachers? Four Case Studies

Ashley Dawn Sweat

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Recommended CitationSweat, Ashley Dawn, "What is the Nature of the Professional Practice of Artist-Teachers? Four Case Studies" (2006).Art and DesignTeses. Paper 3.
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FOUR CASE STUDIES THAT EXPLORE THE NATURE OF THE PROFESSIONAL

PRACTICE OF ARTIST-TEACHERS

by

ASHLEY DAWN SWEAT

Under the Direction of Paula Eubanks

ABSTRACT

The purpose of this research is to explore the nature of the professional practices of artist-

teachers in four case studies of artist-teachers who are currently contributing to the art world, as

well as the educational world. They include a painter/art educator, a ceramist/art educator, a

musician/music teacher, and a performance-art educator. This multiple case study provides four

models of artist-teachers who are fulfilling their dual roles. The study reveals that there is a

cyclical process occurring between these artist-teachers practices. The relationships between

their dual practices have points of fusion, such as shared philosophies, sources of inspiration,

creative process and an underlying spirituality. There are also points of friction, for example the

artist-teachers must decide how to split their time and energy. This study highlights the

significant and critical relationship that exists within these artist-teachers practices as well as the

need for professional development that will nurture this relationship.

INDEX WORDS: artist-teacher, teacher development, case studies


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by

ASHLEY DAWN SWEAT

A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of

Master of Art Education

in the College of Arts and Sciences

Georgia State University

2005


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Copyright byAshley Dawn Sweat

Master of Art Education2005


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by

ASHLEY DAWN SWEAT

Major Professor: Paula EubanksCommittee: Joe Peragine

Teresa Bramlette-ReevesMelody Milbrandt

Electronic Version Approved:

Office of Graduate StudiesCollege of Arts and SciencesGeorgia State UniversityDecember 2005


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TABLE OF CONTENTS

CHAPTER

1 RESEARCH PROBLEM..... 1

Sub-Problems.. 2

Literature Review 2

2 METHODOLOGY.. 11

Delimitations... 12

3 DATA.. 13

Is There a Relationship Between the Roles of Artist and Teacher? 13

How Does the Practice of Being an Artist Affect the Practice ofBeing a Teacher.. 14

How Does the Practice of Teaching Affect the Practice of BeingAn Artist? 16

Who and What Influence Artist-Teachers?..... 19

How does the Professional Practice of an Artist-Teacher ChangeOver Time? 24

What is the Nature of the Artists Role in Artist-Teachers?. 26

What is the Nature of the Teachers Role in Artist-Teachers?.. 27

4 INTERPRETATION OF DATA. 28

Philosophy and Theory..... 28

Sources of Inspiration and Energy 29

The Artists Role and Practice.. 32

The Teacher/Educators Role and Practice... 34

The Relationship Between the Artist and Teacher Roles. 38

5 CONCLUSION 41


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Recommendations 43

REFERENCES. 45


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Research Problem

As an artist-teacher, I desire growth and fulfillment in each of my dual practices. I am

often conflicted between teaching visual art in a public high school and trying to fulfill my

practice as an artist. Although my desire is to follow my ambitions as an artist and as a teacher,

in reality I am focusing more time and energy into my practice as a teacher. I have made

numerous proposals and promises to my role as an artist. Unfortunately, my practice as a teacher

slowly reclaims the time and energy once dedicated to my artistic practices. From my personal

dilemma, came the premise for this research into four artist-teachers professional practices.

The purpose of this study is to investigate the nature of the professional practice of artist-

teachers. The dual roles, which exist within artist-teachers, are intricately interwoven and

sometimes knotted in a complex relationship with one another. Many artist-teachers, particularly

those who teach primary and secondary-level students, struggle to nurture and fulfill their roles

as an artist and as a teacher. Due to educations ever-growing list of standards, responsibilities,

bureaucratic policies, and general professional requirements, a teachers dedication to student

learning and development as well as the importance of nurturing ones main source of income,

artist-teachers often neglect their practice as artists. While many artist-teachers find fulfillment

in channeling their artistic practices through their practice as teachers, others desire to sustain

and develop their practice as a teacher as well as their practice as an artist. Artist-teachers

become vexed with this dilemma as the relationship between these two roles becomes more

knotted with conflict than integrally interwoven. Through this investigation into the nature of


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the professional practices of the artist-teachers, the study will provide four models of artist-

teachers who nurture and fulfill both roles.

Sub-Problems

In order to understand the nature of the professional practices of artist-teachers, it is

important to research the following questions. Is there a relationship between the practices of an

artist and a teacher? Are the practices fused together or separate? How does the practice of

being an artist affect the practice of teaching? How does the practice of teaching affect the

practice of an artist? Who and what influences artist-teachers? How does the professional

practice of an artist-teacher change over the course of time? What is the nature of the artist role

within artist-teachers? What is the nature of the teacher role within artist-teachers?

Literature Review

The literature review covers three components of the research problem: (a) the dilemma

of an artist-teacher, (b) case studies and examples of artists who teach, and (c) methods and

professional development that have proven to revive and inspire the artists role in the artist-

teacher. The overarching problem is to examine the nature of the relationship between the

practice of being and artist and the practice of being a teacher. While the components covered in

the literature review all relate to the research problem, the research fails to offer an evaluation of

the nature of the relationship that exists between the roles of an artist and teacher, especially with

teachers in primary and secondary educational settings. The majority of available literature on

this subject shows some age as philosophies, movements and cultures have evolved. While the

literature needs refinement and reconstruction, it provides the justification for contemporary and

future research on the relationship that exists between the dual roles within an artist-teacher.

The dual roles of the artist-teacher can create a great dilemma. Some researchers claim

that the two roles are in complete conflict. The dual nature of this conflicted state has been


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referred to as hyphenated-schizophrenic and deemed irreconcilable. (Orsini, 1973, p. 299).

The beliefs, motives and activities of the artist are opposed to those of the teacher. For example,

the teachers motives are to facilitate learning for others, to help students gain security, and to

fulfill a social role; while the artist believes in a world and in art and is motivated to reconcile the

two (Parker, 1953). Constance Anderson observes that, the conceptual frameworks which

inform the artist are not those encountered by the teacher (1981, p. 45). The teacher is driven to

share with all students, artistically gifted or not, the experiences and opportunities provided

through art education, while the artist can be egocentric, driven by self-expression and generally

indifferent to public opinion (Parks, 1992).

To reveal yet another layer to this dilemma, gender also affects the artist-teacher.

Referring to Parks idea of the artist driven by self-expression, La Chapelle references

Garfinkel (1984) as he writes,

Male professional visual artists tended to rank their priorities in life hierarchically with

art-making being their foremost interest and personal relationships being secondary,

Women professional visual artists, in contrast, tended to seek a balance of art and

relationships in their lives, to integrate self-expression and caring for others (p. 166).

It was concluded that generally women artists are different from the male stereotype hence,

creating their own stereotype that characterizes them as lacking professional commitment

(LaChapelle, 1991).

When there seems to be no hope in finding a balance between these two roles, other

researchers point out from a more optimistic perspective the commonalities that exist within each

role. Jerome Hausman provides some promise for resolve saying: there are many of the

elements of artistic behavior involved in teaching: conceiving, structuring, organizing,

presenting, responding, evaluatingin short, the good teacher must engage in significantly


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creative and qualitatively oriented behavior (1967, p. 13). Other shared qualities among artists

and teachers are: (a) they are communicators, (b) they are in touch with themselves, (c) they are

inquisitive, (d) they are qualitative thinkers, (e) they believe that technique must lend itself to

expression, and (f) they move towards a final product (Parks 1992).

Some believe that five hundred years ago there was not such a separation between the

dual identities of an artist-teacher. The artist was a teacher and the teacher was an artist under

the apprenticeship model (Hausman 1967; LaChapelle 1991). So, how has the artist-teacher

gone from being identified as master to being a hyphenated-schizophrenic? The dilemma of

the artist-teacher is magnified by the evolution of cultural contexts, societal expectations,

relationships and the increase of demands from ones career, or in this case careers (Blustein

1996). The ever-increasing demands of education often transform ones identity as artist-teacher

into art teacher. The greater centrality of the teacher role, the greater it debilitates the role of the

artist (Kipper, 1991). Unfortunately, the consequence of the dilemma that exists within the

artist-teacher is often compromise, if not sacrifice, of one role.

In order to gain a greater understanding of this dilemma and how the two roles can co-

exist, the following literature captures the experiences and/or ideas of four different artist-

teachers. In each of the accounts, the dilemma within the artist-teacher is validated. The

struggle to find a balance is expressed or observed, as well as the implications of each role and

their effect on one another.

In the first example Ron McIntosh, an artist and elementary art teacher, claims to have

avoided teaching because a professor warned him that if he taught his personal work would

suffer and he would be too tired to paint (McIntosh 2000). After working several part-time jobs,

in order to give himself time to paint, he began to substitute teach, a path that eventually evolved

into a full time career as an art teacher. His professor was partly right, as McIntosh states that


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teaching is tiring; however, he also agrees with the early twentieth century painter Robert

Henris quote, Painting fatigued is a good action, it rejuvenates the artists spirit and gives

strength to paint into the night. (McIntosh, 2000 p. 60). McIntosh goes on to say that . . .what

he learns in his studio he can bring back to the classroom (McIntosh, 2000 p. 60). This implies

that he has created unity between each role; however, McIntosh never delineates how he uses his

studio experiences in the classroom, nor does he offer what distracts him, how he overcomes

distractions or how he balances the dual roles of his professional life.

The second case looks at the implications of the Artist-in-the-Classroom, with a

reference to the teaching career of the painter, Oskar Kokoschka. The author researches whether

an artist is the ideal art teacher, or not (Smith 1991). The study asks if artists make good

educational models, but never suggests a fusion of the roles of artist and teacher. Kokoschka was

a modern, expressionist artist before he was a teacher. His work was avant-garde and at the time

he was denounced as a mad savage (Smith 1991 p. 242). After experiencing disapproval from

society, hence, economical failure as an artist, a friend of a friend offered him a teaching

position. He accepted the position and approached teaching with the same avant-garde

mentality with which he had painted. He threw out all academic methods of teaching art and

gave the students freedom to choose the subjects that they desired to explore. He empowered the

students and allowed them to draw upon their prior experiences and knowledge. Ironically, this

is one of the leading objectives in contemporary art education.

Kokoschka was referred to as a pioneer of art education, but there is much controversy

surrounding his teaching (Smith 1991). Some student accounts praise him for his ability to spark

their interest and then see satisfying results in their artwork. Other student accounts and

evaluators reports suggest that he would tell the students to draw what they wished to (Smith,

1991). One former student observed that he would single out students who showed talent and


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focus on them, while others were promised a good mark in drawing if they sat quietly and did

their work from other classes (Smith, 1991). Yet, another student, Hedwig Schlieffer, was

quoted as saying, even I, who was not gifted, suddenly was able to paint lively and gay-

colored fancied scenes ballet scenes and other pictures I invented (Smith, 1991).

Peter Smith determines, based on the teaching experiences of Oscar Kokoschka, that an

Artist-in-the-Classroom, is most valuable as a model for art students and not for a teacher. In

this case study, the researcher believes that the artist and teacher roles are so opposed that the

identity of artist-teacher does not exist. Smiths belief is that if an artist follows a structured

curriculum, then the artist becomes a teacher, implying that there cannot be a relationship or

fusion between the two roles (1991, p. 245). Smiths research did not cover how Kokoschas

teaching career impacted his role as an artist. It also did not address whether Kokoscha ever

experienced any type of identity crisis or struggle with balancing the dual roles of artist-teacher.

Joseph LaChapelle also did research on how an artist functions as an educational role

model. He raises questions about the psychological and sociological states, values and norms of

the modern artists and whether teachers should use these artists as role models for art-making

(LaChapelle 1991). Like Smith, LaChapelle never suggests the dual role of the artist-teacher,

but only recognizes these roles as completely separate and different identities. Using Philip

Gustons life as a reference, LaChapelle contradicts Parks argument and questions using artistic

behavior as a model for exemplary art education practices. Using social and psychological

research on creativity and artists, along with Gustons daughters biographical account of her

father, he points out several reasons why artists do not make appropriate models for art students.

LaChapelle, like Smith, claim that there is much proven in artists behavior that we do not want

students to emulate in the processes of creating art (1991).


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On the other hand, researchers provide evidence of artistic behaviors and artists who have

a positive impact on students. Rae Anderson even recognizes the artist-teacher through her

research on contemporary photographer, independent filmmaker and art teacher, Martha Davis.

Anderson validates the dilemma of an artist-teacher saying, creative processes are understood to

involve the need for singular aloneness and introspection, while teaching has been characterized

as an outgoing and analytical process (1997, p. 37). She also finds unity between the artist and

teachers role for they both require creativity, skill, and grace (Anderson, 1997). Anderson

quotes Eisner (1985) as he supports her reconciliation of roles, stating that teachers and artists

make judgments based largely on qualities that unfold during the course of action (1997, p.

38).

Martha Davis illustrates how the immersion of her two roles facilitates collective artistic

and decision-making processes, an integration of student and teacher experiences and the

capacity to share visions both inside and outside the classroom (Anderson, 1997).

Daviss work is personal. Her artwork is about her feelings towards people and events and she

brings these concerns into the classroom. Davis has managed to work through her personal

concerns, in part, by using her medium of video. Davis and her students have produced 10

videos (Anderson, 1997). The experiences of her students and their artistic input are

extraordinarily rich. Davis appears to have harmonized her two roles, but not without

controversy . . . yet another dilemma. Uniting the roles seems necessary in the quest for balance,

but what degree of unification still empowers each role? At what point does the unification of

roles begin to question whether this model exploits the children for the artists benefit, and even

more troublesome, who is the artist?

The artist-teacher must reflect on the relationship between artist-self and teacher-self,

in order to achieve balance and succeed in each role (Szekely, 1978). Someone who can explore


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his/her artist-self and commit to exemplary art education practices has the most to offer (Szekely,

1978). Finding a common ground between both roles, at the spiritual level, can merge inner

and outer lives, as well as a sense of completeness and accomplishment (Campbell, 2003, p.

12). The roles of an artist-teacher should merge simultaneously as one is not simply delivering

subject content, but is . . .sharing as well as giving his creative self as a model to others

(Szekely 1978, p. 20).

Szekely (1978) has studied the unification of artist and teacher and suggests the

following competencies to successfully fulfill each role:

(a) Synthesize personal philosophy of art teaching and art making.

(b) Continue creative growth in an arts specialty area while engaged in teaching.(c) Maintain contact with other artists and events in the art world.(d) Perform as an artist in the school and in the community.

More recent research, by Rena Upitis, Katharine Smithrim, and Barbara Soren, looks at the

transformation of teachers into artists. The study evaluates professional development for

teachers of all subjects. The goal of the professional development is to equip teachers with the

understanding, desire and capacity to integrate arts education in all curricular areas. This is in

response to a lack of funding and support for arts education in Canadian schools (Smithrin,

2003). Through their research, Upitis, Smithrim, and Soren (2003, p. 28) developed the

following matrix, which provides insight into how the study evaluated teacher transformations:

Level 1: Necessary Conditions for Transformation

Features Examples

Feeling of community

Taking personal risks

Creation of public artifacts

Connections with prior experiences

Deriving enjoyment from workshops with peers

Creation of group products

Teachers sharing their work with pupils

Exploring spirituality through the arts

Sharing work with other adults and the media

Exploration of new forms and media

Relating arts experiences to childhood

Associating arts with natural world


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Level 2: Potential for Sustained Transformation

Features Examples

Enhanced images of artists

Altered views of role of the arts curriculum

Changing views of the arts in childrens lives

Developing images of teaching and learning

Greater understanding of self and community

Artist in everyone

Art as disciplined hard work versus talent

Art as way of learning and viewing the world

Arts as fundamental and central to the curriculum

Arts as essential for childrens development

Recognition of importance of arts in early years

Teacher as artisan, elder

Learning as apprenticeship

Recognition of ones capacity for artisticexpression

New ways of seeing how the arts buildcommunity

Level 3: Operationalized Long-term Transformation

Features Examples

Sustained pursuit of new art forms

Teacher designed changed to curriculum

Altered life practices

Altered perceptions

Private dance, music, theatre, visual arts lessons

Creation of home studio space

Increased instructional time in arts

Design of arts curriculum units

Less passive entertainment

Increased attendance at arts events

New ways of seeing

Increased tolerance of difference

Professional development that addresses the above conditions and seeks to empower the role of

the artist in the teacher is a crucial element in balancing the roles of an artist-teacher; however,

this type of professional development and training of pre-service teachers is rarely advocated by

education institutions and school systems (Szekely 1978).

Jeff Adams claims that artists should be supported in maintaining their creative practice

once they become teachers which is the fundamental principle of the artist-teacher scheme, a


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postgraduate professional development course (2003, p. 184). Adams research follows the

experiences of artist-teachers through the course and the affects of their experiences in the

classroom. The course motivated, updated, and renewed the artist-teachers artistic practices

(Adams, 2003). The experience also elevated their beliefs in their own competences, therefore

translating into confidence in the classroom (Adams 2003). Adams (2003, p. 185) quotes

Michael Yeomans, in his presidential address to the Society,

It was the love of exploring visual ideas, handling materials, developing personal themes,

tackling design problems, seeing the product of imagination, thought, skill, that led to a

desire to share these experiences through the classroom, workshop and studio. Where

has been the encouragement to continue the activity, to sustain real practice so that we

teach against a background of current involvement? We are not mere distributors of

second-hand curriculum theory.[]. Let us nurture a profession of practicing art and

design teachers. I still believe that practice informs teaching and if you do not practice

your teaching becomes progressively less well informed.

Although, this belief is shared passionately by some art teachers, it does not explain how to

balance the two roles, succeed in both roles and enjoy personal relationships, culture and living

outside the artist-teacher identities.

Methodology

The design of this study is qualitative, using the multiple case study method (Merriam,

1998). The case studies were built around four subjects who practice various forms of art and

teach in multiple educational environments. Kevin Cole is a painter, sculptor, and high school

art teacher in Atlanta, Georgia. His artwork is collected nationally and internationally. He is

represented by a highly respected Atlanta gallery and exhibits regularly, accepts commissions


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and sells his work at high prices. Julia Speer, is a ceramist, sculptor, and elementary school art

teacher, in a suburb of Atlanta. She has also owned a community art studio, where she taught

classes and held special arts events. Her work is currently being shown in collections and

galleries around the nation. Katherine Thomas, is an Irish Musician, a certified Irish music

instructor, and high school orchestra teacher, in a suburb of Atlanta. She released her first Irish

Music CD, in 2004, and has been recognized, nationally and internationally, for her talents.

Tim Rollins, a performance artist, visual artist, and educator, is known for the

collaborative works of art, produced in his Art and Knowledge Workshops, which are found in

international museums and collections. He collaborates with his students in the process of

making art. The artist that appears on the artworks identification tag is Tim Rollins and

K.O.S. (Kids of Survival). Although he has left the high school educational environment, he

continues to educate kids on the primary and secondary levels through art workshops conducted

in various international cities.

The subjects were interviewed twice, over a two-month period. The first interview was

structured with a degree of flexibility. The interview questions were predetermined, based on the

research problem, and asked in a particular order; however, the subjects were allowed to explore

other topics. The second interview was also structured; however, the questions were created

based on the responses collected in the first interview. The data collected from the interviews, as

well as the interpretations of the data were given to the subjects for their review and approval.

The data collected was processed using the constant comparative method. In each case

the data is analyzed and interpreted individually as well as comparatively. Through the analysis

and interpretation of data, categories and patterns were revealed. Revealing patterns that exist

among the practices of the artist-teachers in this study, provides other artist-teachers with

examples of how to unify and fulfill their dual roles and practices.


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Delimitations

This study is a series of case studies that examine the nature of the dual roles of artist and

teacher for the subjects. The results specific to the subjects and cannot be generalized though I

hope that much can be learned from them. Although this research will investigate the impact of

the artist-teachers dual roles on one another, it will not evaluate or make conclusions about the

professional achievements of the artist-teachers. The study will not evaluate the performance of

the artists-teachers in the educational setting, nor in the art world.

The research will be limited to artist-teachers who educate students, at primary and

secondary educational levels. There is a substantial amount of research on artist-teachers who

teach at the post-secondary level; however, there is a void in the research about those who teach

students at primary and secondary levels. In addition to the lack of research, there is a

completely different environment and set of challenges for educators who work with students

between the ages of six and eighteen.

As mentioned before, there are artist-educators who channel their artistic practices

through their role and practice as an educator. This study will not focus on artist-teachers whose

artistic practices only manifest in their practice as a teacher. It will focus on artist-teachers who

are participating and contributing to the art world as well as the educational world. While these

artist-teachers selected for this study are representative of diverse genders, ethnicities, artistic

modes, and socio-economic levels, the results of the study are limited due to the small number of

subjects. This sample population may not be generalized to all populations of artist-teachers.

Data

The data collected through interviews is presented under each of the research sub-

problems. The sub-problems are arranged as subheadings throughout this chapter.


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Is there a relationship between the roles of artist and teacher? Are the roles fused together or

separate?

In order to understand the nature of the professional practice of artist-teachers, it is

important to know if there is a relationship between the practice of the artist and the practice of

the teacher and, if so, to what extent does the relationship exist. All subjects recognize that there

is a relationship between the practices. Responses form a continuum with one end representing

the two practices entirely fused and the other side representing the practices completely separate.

Tim Rollins perceives the relationship between his role as an artist and his role as a teacher, as

integrally interwoven. The roles, he explains metaphorically, are like two sides of a single piece

of paper they are indivisible (T. Rollins, personal communication, Sept. 23, 2005)

Julia Speer and Kevin Cole acknowledge a strong relationship between their dual

practices, yet the practices maintain a degree of division. Coles practices would place him very

close to the middle of the continuum. Cole and Speer believe there is a relationship because they

share their experiences of working through the creative process with their students. Often the

practices ideas and dialog happening in the classroom manifest in their artwork and vice-versa.

Speer nailed it when she said: they [the practice of being an artist and the practice of being a

teacher] definitely influence and feed one another, yet [they are] not dependent on each other (J.

Speer, personal communication, Oct. 25, 2005).

On the other hand, Katherine Thomas views her practice as a music teacher separate from

her practice as a musician. She explains that her perspective is based on the fact that teaching

music is very analytical and mathematical, while playing and performing music is purely

emotional, communicative and even subconscious (K. Thomas, personal communication, Sept.

16, 2005).

How does the practice of being an artist affect the practice of teaching?


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In each case, whether there is a perceived relationship between the practices or not, all

artist-teachers acknowledged that their practice as an artist affects their practice as a teacher.

Tim Rollins and K.O.S. produce visual works of art; however, Rollins perceives himself as a

performance artist. He feels a kin to, acting ensembles with young people, choirs, young

peoples orchestras, and dance troops (T. Rollins, personal communication, Oct. 15, 2005). As

a performance artist with training and talents in the visual arts, he orchestrates a collaborative

effort in the creation of art and knowledge. Therefore, his practice as an artist goes beyond being

interwoven with his practice as an educator, and it becomes more about interdependence between

the roles.

Rollins and Cole are talented and trained artists and they model, as well as, demonstrate

their practices as artists for the students. They both remarked about the standard of quality that is

necessary in making art. Their practices as artists facilitate the creation of quality works of art.

Kevin Cole creates an environment in the classroom that echoes his studio environment.

This practice also facilitates a high standard of quality art being produced in his classroom. Cole

believes that as a practicing artist, he is able to push students to a higher level, model what

the kids are expected to do and share their struggle (K. Cole, personal communication, Sept.

27, 2005).

Julia Speers practice as a ceramist and sculptor has a direct impact on her students as

well as students in other art programs. Through her practice as an artist, she developed a cold

finish technique that she uses on her own sculptures (J. Speer, personal communication, Oct.

25, 2005). She also trains other art teachers in professional development courses on her cold

finish technique that enriches their own artistic and teaching practices. The finish provides more

satisfying results and it is much more economical for elementary school art and electricity

budgets (J. Speer, personal communication, Oct. 25, 2005). Her experiences of working in her


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studio and solving problems through the creative process filter directly into the classroom and

provide unique techniques and processes for students and other artists. Speer also believes that

by practicing as an artist there is an opportunity to educate them [students], because their minds

dont quite grasp what an artist is (J. Speer, personal communication, Sept. 12, 2005). Her

summer art camp provides her students the opportunity to spend time at her home, in her studio,

working as student-artists, in an artists environment. The students are given the opportunity to

witness the evidence of an artists practice. Speer remarks, it has bridged the gap between their

understanding you know an artist is someone who is dead or someone who is in a

museum (personal communication, Oct. 25, 2005).

Katherine Thomas does not acknowledge a relationship between the dual practices, but

she does recognize how her practice as a musician affects her practice as a teacher. Thomas

models for the students the analytical and mathematical components of playing as well as the

emotional and creative elements of playing music. In addition, her practice as an artist not only

affects her practice in the classroom but it changed the school environment in which she teaches.

She left a middle school orchestra program that she had grown so large and so demanding of her

time that she did not have the necessary time to dedicate to her practice as a musician (K.

Thomas, personal communication, Oct. 13, 2005). She made a conscious decision to leave the

program she had built for a smaller, less demanding program that is more conducive to her

practice as an artist.

How does the practice of teaching affect the practice of being an artist?

All four subjects recognize that their practice as a teacher does impact their practice as an

artist. Sometimes the affect is positive and sometimes the affect is negative. On a positive note,

Thomas believes,


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If we didnt have school music programs then we, as artists, would not have an educated

audience All musicians want a listening audience We need people who will

appreciate [the music] Every musician should give back and that is the only way the

arts will live on and it is the only way the [musical] conversation will continue (K.

Thomas, personal communication, Oct. 13, 2005).

Many of Thomas Irish Music colleagues are disappointed by audiences who are not familiar

with the music. She said, it drives me nuts about Irish or Celtic music in Atlanta they all

want to go out and perform, but none of them want to teach (K. Thomas, personal

communication, Oct. 13, 2005). Thomas feels that as a musician, you have a great responsibility

to not only perform music but also educate people about the music.

On the other hand, educating people about music takes time and energy away from

performing and practicing music. Katherine perceives her weaknesses as a musician are a result

from her practice as a teacher. She explains, sometimes, as a musician I do not dig deep enough

into a piece I can do it in the summer play around more with a piece and variations and

really expand my musicianship (K. Thomas, personal communication, Oct. 13, 2005).

Speer shares similar experiences with Thomas, but on a much deeper and emotional

level. Her practice as a teacher feeds her on a heart level and on a youthful level (J. Speer

personal communication, Sept. 12, 2005). Students are so eager to make the teacher proud. She

remembers hearing a fellow undergraduate student report an experience of working in an

elementary school and his conclusion was that they give you lots of kudos (J. Speer, personal

communication, Oct. 25, 2005). She validates the receiving of those kudos and goes on to share

that her students have provided her with emotional healing, inspiration, great ideas, and many

concepts and techniques that manifest in her sculptures.


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Even with all of the positive affects that Speers practice, as a teacher, has on her practice

as an artist, she still believes that, it affects her practice in a negative way. She goes on to say,

it takes so much, not so much the time, but it is the energy (J. Speer, personal communication,

Sept. 12, 2005).

Coles practice as a teacher affects his practice as an artist and it also provides him with

the artistic practice that he desires. He chooses to teach a full time job in order to paint what he

wants to paint (K. Cole, personal communication, Oct. 14, 2005). Teaching frees him from the

galleries and art worlds pressures and expectations. Teaching allows him to be in control of his

practices as an artist and in control of his art.

Teaching also provides him with more resources to deal with in his artwork (K. Cole,

personal communication, Sept. 27, 2005). Coles artwork is a manifestation of issues and

relationships in society as well as the issues and relationships among the interactions that occur

in his daily life. The experiences Cole has in the classroom channel into his practice in the

studio. Cole explains, now days in education you dont get the perfect student. Their social

and economical backgrounds, as well as their complex and unfamiliar situations force Cole to

reflect on the situation. He puts himself into their reality and asks himself, What would he do if

he was in their shoes? (K. Cole, personal communication, Oct. 14, 2005). This processes of

reflection and inquiry channels into his practice, as an artist.

There are other influences in Coles practice as an artist that stem from his practice as a

teacher. As a teacher, Cole is consistently questioning his students, why? He asks his students

why they are doing what they are doing what are you wanting to say with the paint I ask

myself why I am doing what I am doing, what do I want to say? (K. Cole, personal

communication, Sept. 27, 2005)? The students ask him questions which he would not normally


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ask himself and they do things that I never had the guts to do (K. Cole, personal

communication, Oct. 14).

Cole, just like Thomas and Speer, acknowledges the push-pull between the dual

practices. They all desire to commit more time and energy to their practice as artists but due to

their responsibilities and commitments as teachers, they must make sacrifices. They all make

these sacrifices consciously and all three subjects have goals for their futures. Their goals all

involve making changes. Whether it is retirement from public education or teaching in a more

private and self-controlled environment, Thomas, Speer, and Cole look forward to opportunities

that will create a shift in where they dedicate their time and energies. They all insist that they

will all teach in one form or another; however, they will eventually make a shift, in order to

focus more on their practice as artists.

As mentioned before, Rollins practice as an educator goes beyond affecting his practice

as an artist. His practices depend on one another. Fifteen years ago, Rollins, made his shift. The

public school environment where he formerly taught did not allow the kids to be excellent (T.

Rollins, personal communication, Oct. 15, 2005). Nor, did it allow Rollins practices to reach to

their potential. He made a shift from teaching in an oppressive school environment to educating

kids in his alternative after-school program called Art and Knowledge Workshop. Rollins

perceives himself, as art critics and curators have claimed, as a performance artist. He

collaborates with his kids, engaging in communicative actions, which manifests in objects or

relics (T. Rollins, personal communication, Oct. 15, 2005). These relics or artworks are the

profound process of the education and learning that goes on in the studio (T. Rollins, personal

communication, Oct. 15, 2005). Through these communicative actions, Tim Rollins and K.O.S.

(Kids of Survival) have produced works of art, which are housed in eighty-five international

museums and collections.


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Who and what influences artist-teachers?

All of the subjects clearly define their role models and mentors. Kevin Coles role

models are Henri Linton, Terrance Corbin, Earnest Davidson, and John Howard, his

undergraduate professors, from the University of Arkansas at Pine Bluff. All of which are artist-

teachers. Terrance Corbin has had a particular influence on Cole, because he always knew

exactly how to push him. Terrance Corbin, rattled the ego of a freshman, holding a scholarship

earning portfolio, who thought he was a superstar, by telling him that he had typical high school

work (K. Cole, personal communication, Sept. 27, 2005). This comment got under Coles skin,

but he turned his fury into fuel and motivation, which challenged him to prove his talents.

Corbin, also challenged Cole to manage a group of high school kids who had gotten out

of control while on a field trip at the University. He had never worked with kids but after he was

able to get the young people to respond successfully. Corbin suggested that he should consider

working with kids and charged him with the statement you have an obligation to share your

ideas (T. Cole, personal communication, Sept. 27, 2005).

Tim Rollins has a more eclectic repertoire of role models and mentors. The influential

people in his life consisted of three artists, one educational theorist, an orchestra conductor/music

teacher, and a Reverend and Civil Rights leader. Conrad Atkinson, the British artist, is

someone Rollins considers a mentor or someone like his dad. He provided a huge

breakthrough for Rollins, with his ability and artwork he pulled communities together that were

under political stress and turmoil. (T. Rollins, personal communication, Oct. 15, 2005). He went

into Northern Ireland during the troubles and areas where minor strikes in England were

occurring to show his work. The power of these political works of art created unity and

manifested hope for the people.


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Another artist, who had a big impact on Rollins was Andy Warhol. Warhol provided

Rollins with the perfect model with his factory . . . he worked in collaboration with all of these

nuts and strange outsiders . . . in a family style workshop atmosphere (personal communication,

Oct. 15, 2005). Joseph Beuys, the artist, also had an enormous influence on him. Rollins

identifies with Beuys belief that everyone is an artist and that society is a form of sculpture

the artist has an enormous responsibility and role to help shape that (T. Rollins, personal

communication, Oct. 15, 2005).

From an educational perspective, the role model, in Rollins life is Paulo Freire. He

wrote Pedagogy of the Oppressed and Cultural Action for Freedom. Rollins has been influenced

by his work in Brazil and going into communities and teaching what folk know, developing

vocabulary and [educating] from where people are and what they know (T. Rollins, personal

communication, Oct. 15, 2005). Leonard Bernstein is another role model, who also made

learning about music accessible for young people. Rollins used to listen to his lectures to young

people about music and, just by the way he talked, he brought the classics to kids in a way that

was understandable and accessible (T.Rollins, personal communication, Oct. 15, 2005).

Reverend Dr. Martin Luther King is the stellar, number one influence in Tims life.

Rollins credited him with providing him the idea that,

Art is a vehicle to bring people together, that would not normally be together or as a

vehicle to create what he called the beloved community. That without a doubt is the most

powerful and most inspirational and restorative theological concept, that which is the

engine that drives our work (T. Rollins, personal communication, Oct. 15, 2005).

Julia Speers role models include her mother, a couple of artists and an undergraduate art

education professor. Speer comes from generations of creative women; her mother and

grandmother were both very creative. Her mother nurtured her wacky, kooky-crazy ideas and it


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was like nothing was wrong, no matter what you came up with (J. Speer, personal

communication, Oct. 25, 2005). Her mother allowed her to think outside of the box without

preconceived notions or the idea of the norm restricting her ideas.

Georgia OKeeffe, is another influence in Speers life. She is inspired by her lifestyle

more than her artwork. She admires OKeeffes decision to live her life, her own way, rather

than getting married and having babies. Speer passionately says, it amazes me to give

oneself permission to do it their way, when society says that way is not okay, that speaks to my

soul (J. Speer, personal communication, Oct. 25, 2005). Julia also shares a connection with

OKeeffe, in that they share the same soul place, in New Mexico.

Marie Gibbons is another artist, who inspires Speer; however, it is her artwork and her

nature that has made the impact of Speer. Gibbons creates extremely expressive and powerful

ceramic sculptures, just as Speer does. Her warmth and generosity has made a big impression on

Speer. She states, [Marie Gibbons] has the belief in abundance, where the more you give the

more you receive and others have the belief in scarcity, where if you share others will steal and

there will be less (J. Speer, personal communication, Oct. 25, 2005). Marie Gibbons has

created literature and visuals for Speer to study and shared techniques for Julia to try in her own

studio. They both share the same preference for cold-finishes on their ceramic work and have

enjoyed exchanging their ideas and practices, as artists.

Another role model, who has influenced Speer, is Dr. Carol Edwards, an undergraduate

Art Education professor. The reason why she is such an inspiration to Julia is because she is so

real there were no right or wrong answers, if she could stir ones passion and interest, then she

was doing what she was supposed to be doing (J. Speer, personal communication, Oct. 25,

2005)


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Katherine Thomas; role models include musicians and musician-teachers. John Dotson

was her orchestra conductor from college and he was all about passion, emotion, and fire . . .

the musical experience . . . and embracing your passion for music and the communication (K.

Thomas, personal communication, Oct. 13, 2005).

On the other hand, Frank, a viola player, was a doctoral student in Double E and he was

an analytical person. He inspired Thomas on the analytical side of playing. Playing with Frank

was emotional for Thomas, but it was calm and the experience possessed a different kind of

emotion then the emotion associated with John Dotson. Thomas high school orchestra teacher

and her private lessons instructor, also had an influence on her. Their methods of teaching

emphasized kindness, encouragement, and teaching the music in such a way that it was

understandable and accessible for young learners (K. Thomas, personal communication,

September 16, 2005).

There are several other sources of influence and inspiration in the artist-teachers lives.

Cole, Rollins, and Speers practices are influenced and inspired by their students. From

channeling daily conversations and interactions with students, to having a student make a direct

contribution of a reoccurring motif in the artists artwork students have an enormous influence in

the lives and practices of artist-teachers. Human relationships, particularly family, friends and

other artists, also influence the artist-teachers in similar ways to the students. Reading and travel

also mentioned as influences in the artist-teachers lives.

One key influence in each of the artist-teachers lives is their spirituality. Cole believes

that faith is a source of energy. Speer believes that spirituality is the ultimate source of creative

energy and everything (personal communication, October 25, 2005). Cole said, religion and

faith will lead you to happiness, which allows his creativity to flow (personal communication,

October, 14, 2005). He also develops discipline through his spirituality. Spirituality makes you


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want to do the right thing, which fosters discipline, and for Kevin, being in the studio is the

right thing (personal communication, October 14, 2005). Thomas believes that doing the right

thing entails giving back and giving back manifests spirituality.

Tim Rollins echoes Kevin Cole saying, Spirituality gives you security but not a security

blanket (personal communication, October 15, 2005). In other words, it is the necessary

foundation to do great things and make great things happen, but the great things are not just

going to happen. Rollins goes on to make a profound statement saying, spirituality unites the

collaboration and the process of making art (personal communication, October 15, 2005).

How does the professional practice of an artist-teacher change over time?

As a musician, Katherine Thomas practice started out in the classical genre with a lot of

pressure from her parents to play Scottish music. As she grew older she rebelled against her

parents and started playing twentieth century Jewish viola music. She wanted her music to be

her own and not something her parents influenced (K. Thomas, personal communication,

October 13, 2005). She was able to continue her journey through the classical genre, but since

then she has developed a passion for Irish music. Evolving from classical, which is just a

complete reproduction of what had been done before to Irish music, Thomas explains, I dont

sit in front of music in an orchestral setting anymore and in Irish music, because it is a

tradition, I am not staring at a piece of paper. I am actively involved and I can be creative within

the genre (personal communication, October 13, 2005).

As a teacher, Thomas has grown much more comfortable in the school setting. After

spending four years, in a quiet college practice room and then suddenly being thrown into an

environment where she are forced to be around a lot of people all day long it was quite stressful.

Thomas explains, I just didnt like being bombarded I am much better at it now (personal

communication, October 13, 2005).


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Speers practice as an artis, changed when she had a pivotal moment in New Mexico.

After visiting gallery after gallery it occurred to her I can do this (J. Speer, personal

communication, September 12, 2005). As soon as she was ready she empowered herself,

realized her potential and the creative floodgates opened and the flow has not stopped yet.

Speers practice as a teacher has also changed. She says, One would think that I would

be more patient and I am not more patient. I allow myself to get really angry with the students

and I tell them honestly how angry I feel about whatever She believes that there is too little

humanism in society and that society expects everything to fit into a nice and neat tiny container

and humanism is just not like that (J. Speer, personal communication, Sept. 12, 2005). Speer

goes on to explain that, hiding emotions, lying to students, and acting like what they see is not

what they see, injures their instinct and as an adult, an injured instinct is dangerous (J. Speer,

personal communication, Sept. 12, 2005). She wants her students to understand that just because

she is angry it does not change how she feels about them on a deep core level. This is something

that Speer never got as a child and through sharing this lesson with her students, a healing takes

place inside of her (personal communication, Sept. 12, 2005). Her practice as a teacher has

grown to model more humanism and less of the idealism that is projected on the practices of

teachers.

Kevin Coles practice as an artist-teacher has changed drastically over time. Cole is

reminded of a quote by Jasper Johns, When I see something, I want to do something else to it

and do something else to it and do something else to it and do something else to it. I want to add

something else to it, subtract from it add to it what is it that I want to say? (personal

communication, Sept. 27, 2005). Through reflection and process, his practice evolves.

Tim Rollins has learned from his mistakes. I have made a lot of mistakes and I just

learned from them, says Rollins. He goes on to quote Dr. Martin Luther Kings idea of


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paralysis of analysis (T. Rollins, personal communication, Sept. 23, 2005). Rollins believes

that, everyone is so afraid of doing the wrong thing, they do no-thing (T. Rollins, personal

communication, Sept. 23, 2005). He said, I have a why-not mentality, without being

irresponsible and reckless and crazy I maintain some common sense and practicality (T.

Rollins, personal communication, Sept. 23, 2005).

What is the nature of the artist role in artist-teachers?

I am not your average bear, says Tim Rollins (personal communication, Sept. 23,

2005). He followed the typical pathway of a white male artist, graduating from art school and

going into the studio to paint whatever he wanted. He quickly learned that the other artists idea

of heaven is my idea of hell (T. Rollins, personal communication, Sept. 23, 2005). Therefore,

as mention before, he adopted the paradigm more kin to performing arts, acting ensembles,

choirs, and orchestras (T. Rollins, personal communication, Oct. 15, 2005).

Rollins pointed out that one of his strengths is that he maintains a sense of mystery. This

idea supports the role of a performance artist. He dresses all in black and wears a peculiar hat,

which either speaks about his ability to make fashion decisions or it serves as a part of his

performance, adding to his mystery.

Although he claims to be a performance artist, his training as a visual artist plays a

significant role in his practice as well. His training and talents play a key role in the quality of

work that comes out of his workshops. His knowledge and experience of working through the

creative process facilitates deeper and richer experiences in the artistic processes that occur in his

workshops. Rollins goal is to manifest hope and to give young people a voice in which they

will be heard and make a difference. He does not make a distinction between himself as an artist

and himself as a teacher because it is just a matter of putting labels on things (personal

communications, Oct. 15, 2005).


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Kevin Coles role as an artist is about making a difference. It is about manifesting his

experiences, social issues, and human interactions in an art form. It is about reflection and

taking it to the next level (K. Cole, personal communications, Sept. 27, 2005). Cole believes

that he is still learning; therefore, he does not make a distinction between himself as an artist and

himself as a teacher. He believes that as an artist, he is on a journey and still working towards

mastering his practice.

Katherine Thomas role as a musician is all about communication. Thomas explains,

playing traditional music is about communicating the past in the present it is like you are

having this conversation without words and it is a very deep at-your-psyche kind of expression

it is on a different plane a very spiritual kind of thing (personal communication, Sept. 16,

2005).

Julia Speers role as an artist is to stir something emotionally inside someone (personal

communication, Sept. 12, 2005). However, she also believes that when she is creating a

sculpture she must only be focused on what is inside of her, with total disregard for what other

people will think of it (personal communication, Sept. 12, 2005).

What is the nature of the teacher role in an artist-teacher?

Katherine Thomas perceives her role as a teacher as very analytical. It is her role to

instill discipline, teach skill, and awaken their [students] minds to their personal experience

with music (personal communication, Sept. 16, 2005). She equips students with what they need

to flourish as musicians, as well as exposes them to what music has to offer. However, while she

equips the students with skills and shares musical experiences with them, it is up to the students

to bond with the music (personal communication, Oct. 13, 2005).

Julia Speers role as a teacher feeds her. She explains, my art feeds my teaching and my

teaching feeds my art (personal communication, Sept. 12, 2005). Teaching provides her with


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teachers are believers in abundance, selfless and generous in their practices, and their lives bear

the fruits of an abundant philosophy.

The cyclical process involved in the philosophy of abundance supports the relationship

between the dual roles of an artist-teacher and it explains how the practice of being an artist

feeds the practice of being a teacher and vice-versa. The artist, teacher, student, and society are

all placed on the same circle. They are involved in a continuous process with one influencing

another. Each participant is learning, sharing, growing, and developing, as a result of the process

and interaction among one another. The relationships and encounters that happen in this process

are the reasons why artist-teachers do what they do. Rollins says of these relationships and

encounters that it manifests hope.

Sources of Inspiration and Energy

All the subjects have role models who have inspired them. The practices of artist-teachers

are a testament to the significance and potential of role models impact peoples lives. Kevin

Coles role model, Terrence Corbin, knew how to push Kevin yet he still gave Cole the

reinforcement that he needed to succeed. One of Tim Rollins role models, Andy Warhol,

provided Rollins with an alternative model, philosophy and environment in which art is created

(personal communication, Oct. 15, 2005). Julia Speers role model Georgia OKeeffe, models a

womans strength, independence and will to manifest ones desires. Katherine Thomas role

model, John Dotson, shared his raw passion for music and the exhilaration of the musical

experience (personal communication, Oct. 13, 2005).

The artist-teachers decisions, practices, spirituality, philosophies, art, and perspectives,

directly correlate with those of their role models. These role models are not just people who

have made an impression on the artist-teachers lives, they seem to stream through the blood of


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their protgs. Artist-teachers need role models for guidance, wisdom, and a connection with

someone who has ventured into similar territory.

Support and reinforcement are instrumental in the artist-teachers lives. The subjects

recognize the importance of support in their dual practices. Kevin Cole speaks for himself and

the others, claiming his faith, family and friends are essential sources of support. He also hires

assistants, who work with him in the studio and support his practice as an artist. These assistants

are not just helping with fundamental aspects of processes in the studio they also engage Cole in

dialog and inquiry. They force him to consider ideas that would not otherwise be realized.

Relationships, both personal and professional, support and channel through the practices of

artist-teachers.

Tim Rollins shared two types of support that are essential to his success as an artist-

educator. First, he needs trust. The trust of his superiors, advisors, and supervisors is important.

Second, he needs a decent space to work (T. Rollins, personal communication, Oct. 15, 2005).

He has witnessed environments impact on the processes and products manifest in his

workshops. The environment does not need to be anything over the top, but you need a

respectable space that has light, a sink, tables, and that might have some paper towels (T.

Rollins, personal communication, Oct. 15, 2005). Trust and environment are the essential forms

of support in the professional practices of these artist-teachers.

Speers forms of support come from the interaction through artist groups, teacher forums,

and her relationships. She has been a part of an artist group that she started over three years ago.

The group provides a place where artists have dialog, can share their art forms, receive feedback,

and encouragement, which is critical to her artists practice. Thomas also depends on her

supportive relationships, as she explains, that in the genre of folk music, particularly Irish


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music, the relationships with fellow musicians are vital to the practice (personal

communication, Oct. 13, 2005)

Before Speer started her artist group, she had formed close relationships with two other

practicing artists, who are cornerstones in her own artistic practice. She believes that supportive

relationships with other practicing artists, as well as, teachers are essential to both of her roles.

She hears teachers feeling hopeless and burned out, because the school system has taken away

these forms of support (personal communication, Oct. 25, 2005). As a professional, one must

have opportunities to share ideas and experiences or their practice will start to wither and

eventually die.

Random and general human encounters also provide support. Through the interaction

with others, Speer recognizes patterns and familiar ideas, which form metaphors for her to use in

her sculptures. Her relationships not only feed her on a support level, but also feed her creative

process. All of the subjects have spoken about similar experiences and the impact of human

interaction in their practices.

Thomas needs, what she calls, self-time. She has discovered that having a meditative,

ritual-like time, completely on her terms, provides her with the energy and support that she needs

to fulfill her practice as an artist. She forms boundaries around this time, to protect it from daily

distractions and stress. This time of decompression and rejuvenation fills her energy level and

allows her practice, as an artist, to function with clarity and focus.

Spirituality is also a key source of energy and inspiration in each of the artist-teachers

practices. For example Speer stated that, spirituality is the ultimate source of creative energy

and everything (personal communication, Oct. 25, 2005). It is the underlying, unspeakable

element that exists in every facet of the artist-teachers lives. Spirituality unites the dual roles

and the dual practices of the artist-teachers.


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The last common pattern of support, found among these artist-teachers, is reinforcement.

Reinforcement strengthens, supports, and rewards the practice, in order to encourage repetition.

Reinforcement has played an important, perhaps subconscious part in the practices of these

artist-teachers. Reinforcement is facilitated through encouraging words, effective motivational

tactics, accomplishments, and the recognition of an individuals unique gifts or talents. There is

evidence of reinforcement taking place on several different levels in the practices of artist-

teachers. The role and practice of the artist, the role and practice of the teacher, and the role and

practice of the student are all giving, as well as, receiving reinforcement. Role models, family,

and human interactions reinforce the practices of these artist-teachers.

The Artists Role and Practice

The artist-teachers perceptions of their role, as an artist, are quite varied and colorful.

They used words and phrases to describe themselves such as, confident, mysterious, a little

above average, not average, compassionate, hot, musician, rather than artist, obsessed, and

manic. The only consistent thread between the subjects perceptions, are their inconsistencies.

However, there are consistent threads through the practices and disciplines associated with their

role as an artist. As an artist, each subject channels their experiences and human interactions,

both past and present, through their modes of art. The artists possess an appreciation and a level

of sensitivity for where society has been and where it is now. The artists awareness makes them

more observant and more conscious of what they see, hear, and feel, which channels into their

studios, practice rooms, and workshops.

Space that is designated for the practice of the artist is vital to the artists practice. All of

the artist-teachers have established environments or standards of environments in which

creativity flows. The right space, in which the artist has conceptually and physically constructed,

wards off outside distractions and fosters their creative practices.


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Reflection is a common practice among all subjects. For example, Cole sketches and/or

writes in his journal everyday. Thomas engages in reflection daily, while she practices music.

Each artist-teacher does not take time out of their day to reflect, but they make time, each day, to

reflect. Reflection is a priority, a habit, and a lifeline for the artist-teachers.

Another concept found among the roles of the artist-teachers is professionalism. A

common expectation of these artist-teachers is to know your craft. Each of the artist-teachers

practice and create, in a continuous learning process, which develops their craft. The role of an

artist, in an artist-teacher must contribute knowledge and experience with techniques, methods,

and processes. In addition, they should be knowledgeable in art history, as well as, the current

practices and contributions of contemporary artists. The artist role must understand and be

compassionate in regards to the struggle in the creative process. They should be capable of

revealing solutions and providing effective guidance through the students artistic processes.

They must understand how to facilitate quality works of art, music, and performances.

Another common professional practice, in the roles of these artists, is to submit their art

forms to the world for viewing, experiencing, participating, and reaction. Each of the artist-

teachers, are not only practicing their craft, but they are also contributing their art forms to the art

world and to the world.

Finally, each artist-teacher has formed goals for their role as an artist. There are plans

and visions in place, which provide direction and purpose. Kevin Cole is focused on taking it to

the next level (personal communication, Sept. 27, 2005). Katherine Thomas is making

adjustments in her practices, in order to go deeper into the music, creating more variations and

expanding her musicianship (personal communication, Oct. 13, 2005). Julia Speer simply

wants to make more art and Tim Rollins goal is to make history with a little hysteria and to

prove it can be done (personal communication, Sept. 23. 2005). Just as in any profession, an


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artists goals are essential. Without goals, one is easily disoriented, distracted, and derailed.

Goals provide purpose, as well as, protection for the role and practice of an artist.

The Teacher/Educators Role and Practice

The artist-teachers perceptions of their role as a teacher or educator are as varied as their

perceptions of their role as an artist. Cole stated, we are using education as much as education

is using us for our knowledge (personal communication, Oct. 14, 2005). The idea that one

entity is using another always projects a negative connotation, but there is a very interesting

meaning behind these words. Artist-teachers are using the knowledge generated in education,

just as much as education is using their knowledge, as artist-teachers. Julia uses her role, as a

teacher to provide, as well as, receive healing, nurturing, and restoration. These qualities

channel in a cyclical motion, through her practices of the artist and her practices of the teacher.

Thomas perceives her role as a teacher as distinctly separate from her role as an artist.

Although she is much more emotionally invested and focused in her role as a musician, she

identifies herself as a music teacher. She perceives her practice as a music teacher as her job,

while her practice as a musician is her hobby. Therefore, the income associated with and the

amount of time invested in a practice affects the perception of the artist-teachers roles.

Cole also perceives his role as a teacher as a means to support his practice as an artist, but

in a different context. Teaching frees Coles practice as an artist from the expectations,

pressures, recommendations, and limitations of the art world (K. Cole, personal communications,

Oct. 14, 2005). His practice of teaching provides him the independence and power to control his

practice as an artist.

Rollins makes a distinction between his current role as an educator, versus his past role as

a teacher. He eloquently explains the differences between these roles, a teacher shows you stuff

and provides materials and resources and an educator discerns, develops, disciplines, and


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promotes gifts in others (personal communication, Oct. 15, 2005). All of the subjects desire to

fulfill the role of the educator, as Rollins has described. Discerning, developing, disciplining,

and the promotion of students gifts, is occurring in each of the subjects role, as a teacher.

However, the educational environment, in which the teacher practices, determines the degree to

which a teacher discerns, develops, disciplines, and promotes the gifts of others.

Three of the four subjects have already made a shift or are planning career changes, in the

near future. Rollins chose to leave his position in the public school, in order to educate through

his Art and Knowledge Workshops, Thomas will be leaving her position in the public school to

grow her practice as a private music teacher, and Speer dreams of leaving her public school

position and creating a lodge/studio where artists can travel to and rejuvenate their inner

creativity. They desire to be released from the educational environment that restricts their

capacity to educate others. While Cole does not express the desire to leave his public school

position, he does look forward to retirement, so that he may really begin to work (personal

communication, October, 14, 2005). They feel that their educational environments have a direct

impact on the potential of their practice as teachers, as well as, their practice as artists.

In regard to discipline, in the role of the teacher, the subjects spoke briefly, but the

message was clear. The, left brained stuff, as Speer labeled it, the paperwork, lesson plans,

bureaucratic procedures, and the list goes on, requires discipline (personal communication,

October 25, 2005). The subjects admitted their tendencies to procrastinate. This weakness

surfaces especially when it comes to these types of tasks because these tasks do not represent the

priorities of artist-teachers, therefore, discipline becomes essential.

A common practice among the artist-teachers is tailoring educational experiences to

individual needs. Cole makes a point to speak to his individual students and he aspires to choose

the right words that will push that particular individual. This idea made a huge impact on him, as


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Terrence Corbin knew just the right thing to say in order to push him. Developing individual

relationships with students allows teachers to be intuitive and know what individual students

needs. Artist-teachers form close and genuine relationships with their students. These

relationships inform their intuition. Informed intuition provides artist-teachers with the ability to

know what their students need, in order to take it to the next level.

Artist-teachers create experiences for their students that are legitimate and that model the

practices of artists. Tim Rollins believes in making educational experiences real. He makes

sure the kids experiences are not a dress rehearsal (personal communication, Sept. 23, 2005).

He believes that education should involve project-oriented experiences where students start with

a concept, work through a process, create a product and then go through an evaluation.

However, his idea of evaluation is not by the teacher rather, the product or relic that is created,

should be put out in the real world so that it can be evaluated by the world (T. Rollins,

personal communication, Sept. 23, 2005). Legitimate educational experiences model the

practices of artists and the real world situations engage and empower students. However, it is

important to note that the students work must reach a professional standard of quality before it is

ready to be submitted for the worlds evaluation.

Legitimate educational practices will mirror the practice of an artist. Kevin Cole

incorporates the element of a sketchbook in his students experiences, just as he uses it in his

daily life. Katherine Thomas models the importance of practicing ones music. She provides

students with the real experiences of a musician, as she regularly schedules student performances

in large and small venues, as well as formal and casual environments.

Julia Speer extends educational experiences beyond the classroom and into the artists

studio. She holds summer art camps in her personal studio space. She has also acquired a former

student, as an apprentice. An artist-teachers, knowledge of the challenges, processes, and


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practices, associated with the art world, filters into their educational practices, and subsequently

enriching their practice as teacher.

The artist-teachers have specific expectations and needs associated with professionalism.

Cole and Rollins echoed their problem with the level of professionalism in art education. Their

experiences have shown that many art educators are not knowledgeable about their craft. They

believe that many art teachers are well versed in theory and curriculum, but lack fundamental

artistic skills. These teachers are not capable of showing students how to take their artwork to

the next level. Their fundamental drawing skills are not developed, so they do not see

problematic areas in students work. The undeveloped ability to assess and think critically, as an

artist, does not facilitate the development of their students artistic skills. Students are not able to

take their work to the next level and Rollins believes that part of the problem is not enough time

is spent in the studio making art (personal communication, Oct. 15, 2005). These comments

make the professional practice of the teacher, dependent on the professional practice of the artist.

Another problem or void in the professional practice of being a teacher is support through

teacher forums. Speer expresses her desire to have teacher forums places that colleagues can

engage through dialog and share their experiences but they must be safe places (personal

communication, Oct. 25, 2005). Which means a place where the dialog and ideas shared will not

be judged, thus worn like the scarlet letter. Encouragement and reinforcement is critical to the

practice and attitude of the teacher. These forums channel the release of the negative energy,

which breeds teacher burnout.

Workshops, conferences, professional memberships and professional literature are also

among the professional practices of the subjects. The experiences and knowledge gained

through participating in these opportunities are nurturing and challenging to the teachers

practice. The practices of artist-teachers must be informed as well as reinforced.


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There is one common goal among the artist-teachers pertaining to their role as teachers.

They all want to provide the experiences and processes through making art, whether visual or

musical, that will enable young people to develop into creative individuals with abundant minds,

avenues for expression, hope and passion.

The Relationship Between the Artist and Teacher Roles

Every relationship has its points of fusion, where the fibers are integrally interwoven and

every relationship has its points of friction, where the fibers have all knotted into a tangled mess.

The same points of fusion and friction are found in the relationship that exists between the dual

roles of an artist-teacher. Research has traditionally portrayed the two roles in conflict with one

another. It has even suggested that artist-teachers are hyphenated-schizophrenics

(Orsini,1973,p.299). The cases studied in this research portray a much more harmonious

relationship between the dual roles.

The points of fusion can also be considered as points of unification between the roles.

There are points of fusion between the creative practices and the sources of inspiration in the

dual roles of the artist-teacher. For example, Speers role, as an artist, is nurtured by her role as

a teacher and vice-versa. Cole also experiences unification between his roles by the reciprocal

channeling of creative energies and ideas. The artist-teachers philosophies also provide an

underlying unification of the two roles. For instance, artist-teachers believe in learning by

doing (K. Cole, personal communication, Sept. 27, 2005). The practices of artist-teachers

validate the philosophy of learning through experience. This philosophy directly ties the practice

of an artist and the practice of a teacher together. Therefore, one role reinforces the other.

The roles are also united by the artist-teachers spirituality. The artist-teachers possess a

common ground between both roles, on a spiritual level. The merging of their inner and outer

lives provides a sense of completeness and accomplishment(Campbell,2003, p.12). Whether


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faith, religion, or the humans inner spirit, each subject acknowledges their spirituality and its

profound affect on their practices.

Tim Rollins provides an extreme example of unification between the roles. His practice

as an artist and his role as a teacher are exercised simultaneously. Rollins illustrates how the

immersion of his two roles facilitates collective, artistic and performative decision-making

processes, an integration of student and teacher experiences, and the capacity to share visions

both inside and outside the classroom (Anderson, 1997). Rollins has unified his philosophies,

practices, and goals as an artist-educator. Therefore, he has created a total integration of his

practices. While his practices are unified, he still contributes to the art world, as well as the

educational world. Rollins does not believe everyone should follow in his footsteps, but he does

provide artist-teachers with examples of how to unify their practices. The extent to which artist-

teachers unify their roles is determined by the individuals desire, as well as the extent of

unification that their mode of art and teaching practices will allow.

Unlike Tim Rollins, the other subjects express their frustration in the points of friction

between their practices. However, there are only two points of friction shared. The first friction

point, deals with time. Cole, Speer and Thomas express a desire to have more time for their

practice as artists. They all view acquiring more time for their practice as an artist a personal

goal. The second friction point, deals with their energy levels. Speer and Thomas both

experience a struggle to maintain the energy level in both roles. The development of creative

rituals, enforcing boundaries, time management, and discipline are vital to the fulfillment of their

dual roles.

The evidence of fusion points outweighing the friction points proves that the dual roles,

of an artist-teacher, do not always propose a dilemma. Szekely, in Uniting the Roles of Artist

and Teacher, gives four suggestions to fulfill each role:


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a. Synthesize personal philosophy of art teaching and art makingb. Continue creative growth in an arts specialty area while engaging in teachingc. Maintain contact with other artists and events in the art worldd. Perform as an artist in the school and in the community

Most of these suggestions have been implemented by the four cases studied, with the additional

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